Testa della Vergine

Leonardo da Vinci Italian

Not on view

Questo disegno di lirica bellezza è probabilmente uno studio della testa della Vergine Maria per il dipinto di Leonardo Sant’Anna, la Vergine e il Bambino, custodito al museo del Louvre a Parigi, a cui infatti corrisponde moltissimo per dimensioni e aspetto. L’artista ha utilizzato diversi strumenti, sfumando lievemente i tratti di gessetto nero, gessetto rosso e carboncino per ottenere una forma sottilmente ombreggiata con la tecnica dello sfumato, da lui stesso così definita nei suoi appunti. La straordinaria morbidezza e la sottile modulazione delle forme, le sfumate gradazioni di luce e ombra rispecchiano l’approfondita conoscenza scientifica acquisita da Leonardo nel campo dei fenomeni ottici.

The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)

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The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)

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